MEMORY, POWER, AND REPRESENTATION IN “WALTZ WITH BASHIR”: THE TRANSFORMATION OF CONFLICT NARRATIVES IN ISRAELI CINEMA

This article critically examines the transformation of conflict narratives in Israeli cinema, with a particular focus on “Waltz with Bashir” as a paradigmatic case study. Drawing on theoretical frameworks from Althusser, Gramsci, and Hall, the research explores how Israeli cinema functions both as a mirror and a mold of collective memory, national identity, and political discourse in the context of the Arab-Israeli conflict. Employing a qualitative, interpretive methodology, the study analyzes narrative structure, visual style, and ideological subtext to reveal the mechanisms through which filmic texts shape, legitimize, or destabilize dominant representations. The findings highlight the complex interplay of ideology, hegemony, and propaganda, demonstrating how the film negotiates consensus and dissent, complicates binary oppositions, and foregrounds the ethical stakes of historical representation. While the film is lauded for its formal innovation and self-reflexivity, the research also critiques its limitations, particularly the marginalization of Arab subjectivity. The article underscores the need for continued critical engagement with cinematic representation, advocating for greater inclusivity and reflexivity in future scholarship.